Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Posts Tagged ‘1979


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4336 Post No. : 15633 Movie Count :

4306

Today (1 june 2020) is pehli taareekh. And it turns out that today is World Milk Day. In India, National Milk Day falls on a different day, namely 26 November, which is the birthday of Verghese Kurien, who brought White revolution( Milk revolution) in India.

When I was growing up, India was a desperately poor country. It was deficient in foodgrains and also milk. Our history books wistfully recalled those days in distant past when India was a prosperous country where “दूध की नदियाँ बहा करती थीं” ( “doodh ki nadiyan baha karti thi). Indians wistfully sighed and felt envious of countries like Netherlands that they were the nation that had doodh ki nadi flowing in their country.

A few days ago, I was watching videos that showed progress of various countries over the years in graphical forms in various fields. In most areas, the graph started showing USA and USSR at top and ended showing China, USA and India at the top. It was heartwarming as a Indian to witness the progress of India in all these fields.

One field that really made me proud and came as a pleasant surprise to me was the fact that India had become the number one milk producing country in the world ! And it has been number one since 1998 !

The Milk revolution in India started in Kaira District of Gujrat. The Kaira District Co-operative Milk Producers’ Union was organized in 1946 with the blessings of late Sardar Vallabhai Patel. It started with two village milk producers’ societies and began pasteurizing milk for the Bombay Milk Scheme in June 1948. At that time, only 250 liters of milk per day was being handled. by 1960s, 378 village milk producers’ co-operative societies became affiliated to the main union. These societies in turn had about 65,000 farmers as their members. In these villages, there were about 1, 25,000 adult buffaloes of the Surti Breed. During the year 63-64 about 60,000 tonnes of milk was collected by the union. The cost of the milk and milk products sold in that year was over Rs.6 crores. The Union marketed milk in Gujarat and Maharashtra States and milk products on all-India basis. Its trade name “Amul” had become a household word all over India. The union had established an excellent reputation in the dairy industry and had evoked the admiration of experts from many parts of the world.

Verghese Kurien was the the General Manager of Kaira District Co-operative Milk Producers’ Union Ltd (Amul) at that time. Mr Lal Bahadur Shashtri, the second PM of India, who had taken over charge just a few months back, visited Anand on 31 october 1964. He was very impressed with amul model and he decided to replicate this model all over India. Accordingly, he wrote a letter to all the states. NDDB (National Dairy Development Board) was set up with its HQ at Anand. It began plans called Opweration Flood. It had three phases -phase I , II and III. OF I (from 1 july 1970 to 31 march 1981) sought to establish 18 “Anands” linked to the four urban markets – Mumbai, Delhi, Kolkata and Chennai. OF-II (2 october 1979 to 31 march 1985) aimed to establish a modern and self sustaining dairy industry, building on the foundation of OF-I to meet the nations’s needs in milk and milk products. Of III (1 april 1985 to 30 apr 1996) focused on consolidating the milk procurement, processing and marketing infrastructure created under OF-I & OF-II.

By the time OF III ended, India was already number one milk producing nation in the world, a position it holds to this date. Today India produces 22 % of all milk produced in the world. Indian per capita milk production (394 ml) is higher than the world average. The per capita availability of milk is the highest in Punjab (1181 ml),followed by Haryana (1087 ml), Rajasthan (870 ml), Gujarat (626), MP (538 ml), Andhra (623 ml), Himachal (565) etc. There are states that have surprisingly low milk availability viz Delhi (35 ml), Goa (71 ml), Assam (71 ml),Chandigarh (90 ml) etc. I am sure these milk deficient states get their milk supply from milk surplus states. India produces 22% of world production, followed by USA, China, Pakistan and Brazil.

When India became independent, per capita availability of milk was 130 ml, which reduced to an all time low of 110 ml by 1970 before it picked up. In other words, milk availability in Indian picked up only after operation flood project began.

I grew up in Bihar (now it is Jharkhand) in 1960s. Even today Jharkhand per capita milk availability is only 177 ml. Those days it was far lower. I can honestly say that my pets have had more milk in their earlier lives that I ever had ! 🙂 Today my sole pet Bhhole consumes bulk of the milk that I get every morning, and that is more than what an average human gets to drink in a day. 🙂 It has been made possible because to the pioneers and foot soldiers of operation flood. This, alongwith self sufficiency in the fields of other foodstuff has ensured that India does not have to rely on imports and it is secure as far as food security is concerned. That has made India a confident nation. None of Indian neighbours, including China, has this kind of food security.

I wondered if there was any Hindi movie songs on milk. One song from “Manthan” (1977) has already been covered, and there were no other songs. Then it struck me that milk products too qualify, and that we have so many maakhan (butter) songs in Hindi movies, mostly associated with Lord Krishna. One can say that Lord Krishna, serving as a cowherd in Gokul, was a brand ambassador for milk products in general and maakhan (butter ) in particular. 🙂

A few songs of this genre have already been covered in the blog. While searching for other songs, I came across this song from “Gopal Krishna”(1979) which fits the bill perfectly. This movie was produced by Tarachand Barjatya and directed by Vijay Sharma for Rajshree Productions. The movie had Sachin, Zarina Wahab, Reeta Bhaduri, Manhar Desai, Master Sandip, Jeevan etc in it.

The movie had six songs in it.

Here is the first song from “Gopal Krishna”(1979) to appear in the blog. This song is sung by Chandrani Mukherjee which is lip synced by an actor playing young Lord Krishna . I guess that he is master Sandip, with Reeta Bhaaduri playing Maa Yashoda. Lyrics and music is by Ravindra Jain.

The situation is quite familiar to most of us. Some lady complains that Kanhaiyya has stolen maakhan from har matki. An irate Maaa Yashoda is out to punish Kanhaiyya. Kanhaiyya sings this song where he denies the charge. My own home has abundant quantity of Makhan, why would I go elsewhere for it, he explains. As for the maakhan smeared on his lips, he accused Ahir ki chhori of deliberately framing him by smearing maakhan on his lips. He then plays the emotional card- I do your chaakri for the whole day by tending to the cows in the meadows, but instead of believing me, you believe the words of others. 🙂

Very cute and sweet song, picturised nicely. This song is a hidden gem that I became aware of only today.

On the occasion of World Milk day, here is this lovely song from “Gopal Krishna”(1979).


Song-Tu man ki ati bhori o maiyya mori(Gopal Krishna)(1979) Singer-Chandrani Mukherjee, Lyrics-Ravindra Jain, MD-Ravindra Jain

Lyrics

tu man ki ati bhori o maiyya mori
tu man ki ati bhori
tu man ki aati bhori o maiyya mori
tu man ki ati bhori
jaako ghar bharyo dadhhi maakhan syon
jaako ghar bharyo dadhhi maakhan syon
vo kyon karan lago chori o maiyya mori
tu man ki ati bhori
tu man ki ati bhori o maiyya mori
tu man ki ati bhori

na kaaho ko maakhan khaayo
na koi matki phodi
na kaaho ko ka maakhan khaayo
na koi matki phodi
more mukh maakhan male tore sanmukh
more mukh maakhan male tore sanmukh
laayi aheer ki chhori o maiyya mori
tu man ki ati bhori
tu man ki ati bhori o maiyya mori
tu man ki ati bhori
jaako ghar bharyo dadhhi maakhan syo
jaako ghar bharyo dadhhi maakhan syo
vo kyun karan lagyo chori o maiyya mori
tu man ki ati bhori

din din bhar main to dhenu chaaravat karat chaakri tori
din din bhar main to dhenu chaaravat karat chaakri tori
yaahu par tu unki sunat hai
yaahu par tu unki sunat hai
jhoothi kahaani jori o maiyya mori
tu man ki ati bhori
tu man ki ati bhori o maiyya mori
tu man ki ati bhori
ja ko ghar bharyo dadhhi maakhan syo
ja ko ghar bharyo dadhhi makhan syo
vo kyun karan lagyo chori o maiyya mori
tu man ki ati bhori


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day: 4335 Post No.: 15631

The connoisseurs of Hindi film music of the 1960s and 1970s would recall the four melodious songs sung by Geeta Dutt in ‘Uski Kahaani’ (1966) and ‘Anubhav’ (1971). Fans of Gulzar would know that all these four songs have come from his pen. But I will not be surprised if only few of them would remember that all these four songs had been set to music by Kanu Roy. Among these few persons, most of them would not have known his real identity. In his case, it was not only of the confusion of same name but also the confusion with a wrong family tree.

Most of the websites including Wikipedia says that Kanu Roy was an actor and music director who started his acting career in 1940s and switched over to music direction from 1960 onwards. His filmography in IMDb shows him both as an actor and the music director. In some websites, Kanu Roy as a music director has been discussed with the photograph of the actor, Kanu Roy. He is also been wrongly associated with the family of Geeta Dutt as one of her brothers. The facts are:

1. Kanu Roy, the actor and Kanu Roy, the music director were different persons. Kanu Roy, the actor came to Bombay (Mumbai) in early 1940s to join Bombay Talkies. On the basis of Gulzar’s interview which appeared in a ‘Filmfare’ issue of 2012, Kanu Roy, the music director came to Bombay sometime in mid-1950s. (My guess is that he may have come with Basu Bhattacharya who was his close friend).

2. Kanu Roy, the actor was never a music director. Kanu Roy, the music director never acted in films.

3. Kanu Roy, the music director was not a brother of Geeta Dutt. I have seen a photograph of Geeta Dutt’s full family before her marriage. In this photograph, there is no Kanu Roy. The names of Geeta Dutt’s four brothers are Mihir Roy, Ranjit Roy, Mukul Roy and Milan Roy.

With multiple confusion about his name, even the basic profile of the music director, Kanu Roy is difficult to get. I could get some information from Gulzar’s interview published in one of the Filmfare issues of 2012 which is available on http://www.tanqeed.com . In this interview, Gulzar talked about his association as a lyricist with Kanu Roy which I have summarized below with my marginal inputs.

Kanu Roy had picked up the musical notes from Bengal. He began his career by assisting music director, Salil Choudhury who also had Kanu Ghosh as his Assistant Music Director. It seems Kanu Roy was a Welder by profession and had worked on the upkeeping of the Howrah Bridge. He was an introvert by nature and had in him a mix of timid and humble nature.

Basu Bhattacharya and Kanu Roy were great friends. It was Basu Bhattacharya who gave Kanu Roy his first break as a music director in ‘Uski Kahaani’ (1966) which he produced and directed at shoestring budget. Subsequently, he worked in another five films of Basu Bhattacharya. Because of the low budget films, Basu Bhattacharya would never allow Kanu Roy to have more than 6-8 musicians (as against 50-100 musicians the music directors like Shankar-Jaikishan, Naushad, O P Nayyar etc would have in their orchestra). Also, Kanu Roy would not get the regular shifts in the recording studios for rehearsals of the songs. He had to manage in the early morning hours of the recording studio. He did not have a bargaining power with Basu Bhattacharya to ask for more musicians. (Probably for the same reason, he may not have got the playback singers of his choice). It is remarkable that with these constraints, Kanu Roy could composed melodious songs in Basu Bhattacharya’s films.

Kanu Roy’s career ended with his life on 20/12/1981. He lived in poverty and died in poverty.

During his musical journey from 1966-80, Kanu Roy composed 28 songs in 8 films, of which 6 films were of Basu Bhattacharya. Of the remaining two films, one film ‘Mayuri’ (1970s) remained unreleased. Though his contributions to Hindi film music in terms of numbers were low, many of his melodious songs still linger on. Unfortunately, his name may not ring bell for many who may still enjoy those melodious songs.

Although most of Kanu Roy’s melodious songs have been covered in the Blog, I found one song which I liked for its all-round excellence – lyrics, rendition, melody, composition and the picturization. The song is ‘pahchaan to thhi pahchaana nahi’ from ’Griha Pravesh’ (1979). The song is rendered by Chandrani Mukherjee on the words of Gulzar. Having watched the film, I feel that this song summarises the theme of the film.

Amar (Sanjeev Kumar) and Mansi (Sharmila Tagore) has been married for 10 years with 8-year old boy. During this period, some staleness in their relationship develops. Both are under the illusion that they are in love but in practice, they are just being together under one roof. Now their marriage is in the verge of collapse when Amar develops affairs with his office typist Sapna (Sarika). He is caught in a bind in that while he loves Sapna, in the back of his mind, he is also emotionally attached to his family.

Finally, Amar tells Mansi of his intention to divorce her to marry Sapna. After the initial shock, Mansi agrees for divorce on the condition that he should bring Sapna to the house to meet her. The reason is that Sapna has seen Amar in the office as an Accountant and develop the liking for him in an office environment. But she has not seen him in his house where the environment is different.

Before Sapna visit to her house, Mansi gets her house painted. She undergoes herself to a new make-over. While doing this, the song under discussion plays in the background. Sapna visits her house with Amar. After a brief meeting, Mansi takes Amar aside and tell him that she is ready to leave him for Sapna. After the meeting, Mansi tells Amar to drop Sapna to her house. However, when crossing the road, Sapna walks over to the other side of the road while Amar gets stranded on the opposite side because of a marriage procession on the road. In the midst of the orchestra in the marriage procession playing ‘tu Ganga ki mauj mein Jamuna ki dhara’, both Amar and Sapna take leave by waving hands at each other. The scene is symbolic of conveying the message that Amar has a change of heart. The film ends with Amar returning home having coffee with Mansi and his son with the replaying of the film’s song ‘zindagi phoolon ki nahi, phoolon ki tarah mehkti rahe’.

The lyrics of the song under discussion are simple and convey retrospection on the part of a housewife who forgets to give attention to herself. Instead, much of her time is spent in the kitchen, looking after husband and the child and upkeep of the house. In this milieu, she forgets her own identity.

In keeping with the low budget of the film, Kanu Roy has used only three main musical instruments in this song – Sarod, Sitar and what I believe to be Khol (Bangla Dholak) which one can hear in a low rhythm as the song is rendered. The song starts with a prelude of Sarod and Sitar and the same instruments are used in the interludes of the song. Chandrani Mukherjee, who is the sister-in-law of Bappi Lahiri, has rendered the song with poignant feeling in keeping with the mood of the situation. The Audio clip is longer with the same lyrics because it has the longer prelude music than in the video clip.

This song sums up the story of a housewife in a middle-class society.

Video Clip:

Audio Clip:

Song-Pehchaan to thhi pehchaana nahin(Grih Pravesh)(1979) Singer-Chandrani Mukherjee, Lyrics-Gulzar, MD-Kanu Roy

Lyrics

pehchaan to thhi pehchaana nahin
maine apne aap ko jaana nahin
pehchaan to thhi pehchaana nahin
maine apne aap ko jaana nahin
pehchaan to thhi

jab dhoop barasti hai sar pe to
paanv mein chhaanv khilti hai
main bhool gayi thhi chhaanv agar
milti hai to dhoop mein milti hai
is dhoop aur chhaanv ke khel mein kyun
jeene ka ishaara samjha nahin
pehchaan to thhi pehchaana nahin
maine apne aap ko jaana nahin
pehchaan to thhi

main jaagi rahi kuchh sapnon mein
aur jaagi huyi bhi soyi rahi
jaane kin bhool bhulaiyya mein kuchh
bhatki rahi kuchh khoyi rahi
jeene ke liye main marti rahi
jeene ka ishaara samjha nahin
pehchaan to thhi pehchaana nahin
maine apne aap ko jaana nahin
pehchaan to thhi pehchaana nahin
maine apne aap ko jaana nahin
pehchaan to thhi


This article is written by Sadanand Kamath, a fellow enthusaist of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4322 Post No. : 15610 Movie Count :

4301

During the course of my exercise to pick up Hindi songs in Bangla films, I have gone through many Bangla films with their basic details such as the director, story writer, star cast, lyricist, music director, playback singers etc. In the list of lyricists in any Bangla film, if I find the name of the lyricist from Hindi films, I am almost certain that there would be at least one Hindi song in that Bangla film. In some cases, I found that though the name of the Hindi film lyricist was not mentioned, still one or two Hindi songs were found in such Bangla films.

During one of such exercise, I got to know of a Bangla film ‘Sorry Madam’ (1962). The film was directed by Dilip Bose. Although, I could not find the name of Hindi lyricist for the film, the names of playback singers like Manna Dey, Mukesh, and Asha Bhosle gave me a glimmer of hope that there could be at least one Hindi song in the film. The music director for the Bangla film was Ved Pal. But I scored a blank on this count. However, during the searching the songs on the internet, I came across not one but three Hindi songs under the film’s title ‘Sorry Madam’ (Unreleased). Some further searches on the internet revealed a story behind this unreleased film which I was not aware of it. The film was to be a remake of Bangla film ‘Sorry Madam’ (1962) which was a box office success. Hindi remake with the same title was to be produced and directed by Dilip Bose who had also directed its Bangla version. But the film remained unfinished because the director, Dilip Bose went into deep depression after a personal tragedy.

Dilip Bose started his filmy career as actor in Bangla films ‘Kashinath’ (1943) and ‘Bichar’ (1943). I could not get any lead as to what he did during 1943-1960. In 1960, he directed his first Bangla film ‘Dui Bechaara’ (1960). The next Bangla film which he directed was ‘Sorry Madam’ (1962) with Biswajeet and Sandhya Roy in lead roles. ‘Chaandi Ki Deewar’ (1964) was his first directorial venture in Hindi film. During his filmy career, he directed 5 Bangla films, 6 Hindi films and 10 Bhojpuri films. He also acted in about a dozen Bangla films which included Satyajit Ray’s ‘Charulata’ (1964). He also did some smaller roles in a few Bhojpuri films besides story and screen-play writing.

In 1979, after directing Hindi films like ‘Chaandi Ki Deewar’ (1964), ‘Sansaar’ (1971), ‘Thokar’ (1974), ‘Badnaam’ (1975) and ‘Sikka’ (1976), he decided to produce and direct the Hindi remake of his Bangla film ‘Sorry Madam’ (1962) with Raj Kiran and Kajal Kiran in the lead roles. Six songs, all rendered by Mohammed Rafi (some with Asha Bhosle) were recorded in December 1979 under the music direction of Chitragupt. However, Dilip Bose was struck with a personal tragedy when he suddenly lost his wife. Being a sentimental person, Dilip Bose was so much devastated by this tragedy that he went into deep depression for a long time and the film remained unfinished. After recovering from the depression, Dilip Bose concentrated mainly on directing Bhojpuri films. Dilip Bose died in 2002.

Even though 6 songs of the unfinished film ‘Sorry Madam’ (1979) were recorded in December 1979, no gramophone records or CDs were issued. So, they remained unavailable to the public. It was only after the death of the music director, Chitragupt in January 1991 that the tape containing the songs were discovered.  It was decided to release the song in an album. However, by that time, Hindi film music scene had changed and composition style of these six songs sounded old to the music companies who were not interested in releasing the songs. It was only after the success of ‘Veer Zara’ (2004) in which the old-style song composition of Madan Mohan became a hit that a fresh effort was made to release the songs. A music publishing company agreed to release the songs. The tape of the songs were sent to Belgium to digitally restore them to the highest sound quality. Thus,  the songs which were recorded in December 1979 had to wait for 30 years to get them released in an album ‘Teri Adaa’ in 2009.

I am presenting one of the six songs, “Dekho Ji Waado Karo Ke Door Kabhi Tum Na Rahoge” from the unfinished film ‘Sorry Madam’ (1979). The song is written by Kaafil Aazar which is set to music by Chitragupt.

[Acknowledgements:  Some of the information about the background history of the film with 6 unreleased songs are sourced from silkrd.files.wordpress.com and about Dilip Bose, from the book, ‘Cinema Bhojpuri’ by Avijit Ghosh.]

 

Song – Dekho Ji Ye Waada Karo (Sorry Madam) (UR) (1979) Singer – Asha Bhosle, Mohammed Rafi, Lyrics – Kaafil Aazar, MD – Chitragupt
Asha Bhosle + Mohammed Rafi

Lyrics

dekho ji ye waada karo..o..o
dekho ji ye waada karo. . .
ke door kabhi tum na rahoge
jaao ji ye waada kiyaa..aa
jaao ji ye waada kiyaa
ke doo..oor kabhi hum na rahenge
 
waada tumhaara mujhko payaara hai jaan se
chaaha hai tumko hum ne kitne armaan se
waada tumhaara mujhko payaara hai jaan se
chaaha hai tumko hum ne kitne armaan se
phoolon mein jaise khushboo
itne kareeb hain
phoolon mein jaise khushboo
itne kareeb hain
phoolon se khushboo se bhi
hum to khushnaseeb hain

ho oo
khushnaseeb hain
khaao meri aankhon ki kasam
khaao meri aankhon ki kasam
ke door kabhi tum na rahoge
jaao ji ye waada kiyaa..aa
jaao ji ye waada kiyaa
ke doo..oor kabhi hum na rahenge
 
itna sataaya thaa kyun dil mera loot ke
ab na rahungi main to tumse kabhi rooth ke
itna sataaya thha kyun dil mera loot ke
ab na rahungi main to tumse kabhi rooth ke
raaten sajegi apni palkon ki chhaaon mein
raaten sajegi apni palkon ki chhaaon mein
utarega chanda mere sapnon ke gaaon mein
ho oo
sapnon ke gaaon mein
dekhega ye chaand sadaa..aa
dekhega ye chaand sadaa
ke door kabhi hum na rahenge

dekho ji ye waada karo..o..o
dekho ji ye waada karo…..
ke door kabhi tum na rahoge
jaao ji ye waada kiyaa..aa
jaao ji ye waada kiyaa
ke do..oor kabhi hum na rahenge
ke do..oor kabhi hum na rahenge
ke do..oor kabhi hum na rahenge
ke do..oor kabhi hum na rahenge

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Hindi script lyrics (Provided by Sudhir)
———————————————————

देखो जी ये वादा करो॰॰ओ॰॰ओ
देखो जी ये वादा करो॰ ॰ ॰
के दूर कभी तुम ना रहोगे
जाओ जी ये वादा किया॰॰आ
जाओ जी ये वादा किया
के दू॰॰र कभी हम ना रहेंगे

वादा तुम्हारा मुझको प्यारा है जान से
चाहा है तुमको हमने कितने अरमान से
वादा तुम्हारा मुझको प्यारा है जान से
चाहा है तुमको हमने कितने अरमान से
फूलों में जैसे खुशबू
इतने करीब हैं
फूलों में जैसे खुशबू
इतने करीब हैं
फूलों से खुशबू से भी’
हम तो खुशनसीब हैं
हो ओ
खुशनसीब हैं
खाओ मेरी आँखों की कसम
खाओ मेरी आँखों की कसम
के दूर कभी तुम ना रहोगे
जाओ जी ये वादा किया॰॰आ
जाओ जी ये वादा किया
के दू॰॰र कभी हम ना रहेंगे

इतना सताया था क्यों दिल मेरा लूट के
अब ना रहूँगी मैं तो तुमसे कभी रूठ के
इतना सताया था क्यों दिल मेरा लूट के
अब ना रहूँगी मैं तो तुमसे कभी रूठ के
रातें सजेंगी अपनी पलकों की छाँव में
रातें सजेंगी अपनी पलकों की छाँव में
उतरेगा चंदा मेरे सपनों के गाँव में
हो ओ
सपनों के गाँव में
देखेगा ये चंदा सदा॰॰आ
देखेगा ये चंदा सदा
के दूर कभी हम ना रहेंगे

देखो जी ये वादा करो॰॰ओ॰॰ओ
देखो जी ये वादा करो॰ ॰ ॰
के दूर कभी तुम ना रहोगे
जाओ जी ये वादा किया॰॰आ
जाओ जी ये वादा किया
के दू॰॰र कभी हम ना रहेंगे
के दू॰॰र कभी हम ना रहेंगे
के दू॰॰र कभी हम ना रहेंगे
के दू॰॰र कभी हम ना रहेंगे


This article is written by Avinash Scrapwala, a fellow enthusaist of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 4240 Post No. : 15456

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Blog 10-Year Challenge (2010-2020) – Song No. 9
——————————————————————————

We have two movies that qualify to be covered Under the ‘Blog Ten Year challenge 2010-2020’ today (26 february 2020). One is the ‘1958’ movie ‘Chaubees Ghante’ and the other movie is from the ‘Seventies’ i.e. ‘Ahsaas-1979’.

‘Ahsaas’ was released in ‘1979’ that is when I was above eleven years old. Since the movie was released with ‘restricted viewing’ means we had no chance of watching and discussing this movie among out not yet adult friend circle.

One song from this movie was frequently played on radio and had also make its mark in the ‘Binaca Geetmala’ (it ranked eighteenth in the annual list of Binaca Geetmala of 1980). Unlike the movie, its songs were not deemed restricted for adult listening. So listened to this song a lot. This song was the main reason why I and others adolescents like me remembered the name of this movie. That song was ‘sapnon ke shahar ham banaayenge ghar’. I think that this this was the only popular song from this movie at that time.

‘Ahsaas-1979’ was directed by S.K. Suri for ‘Sippy Films Pvt Ltd, Bombay’. S.K. Suri or Surendra Suri also wrote the story and screenplay of this movie. It was produced by G.P. Sippy.

(Atul ji has mentioned in his post here that this movie from the Sippy’s came in between ‘Sholay-1975’ and ‘Shaan-1980’. But with newcomers and also with a new music team).

The cast of ‘Ahsaas’ include the new comers Dina, Parvez, Rakesh Bedi, Kiran Vairale, Sahil and Rita Rani Kaul.

This movie had special appearances of Shammi Kapoor, Shashi Kapoor, Amitabh Bachchan, Simmi, Bindiya Goswami, Bindu, Simple Kapadia and Amjad Khan.

The other supporting cast include Chand Usmani, Leela Mishra, Sunder, Mohan Sheri, Asha Potdar, Arun Desai, Deepak, Raj, Sanjay Kaushik, Ashok Junior, K.S. Deshpande and Dina Nath.

M.S. Shinde was the editor of this movie (He was also the editor of ‘Sholay-1975’).

Dialogues of this movie were written by Suraj Sanim.

This movie had six songs written by Indeevar (five songs) and Ravindra Peepat (one song). Music for this movie was composed by Bappi Lahiri.

Lata Mangeshkar, Kishore Kumar, Asha Bhonsle and Shailendra Singh gave their voices to the songs of this movie.

This movie was passed by Censor Board on 23.10.1979.

So far four songs from this movie have been posted on the blog.

During the preparation of this post I also listened to other songs from this movie. I had not paid attention to them earlier though I might have heard them earlier. I discovered that the other songs are also good, particularly today’s song which appears familiar. Among other songs the first song of the movie which starts with the title is also a nice one and seems to be inspired from ‘ye dosti ham nahin todenge’ (the music is nice but may be the song didn’t get much attention since the movie didn’t go well with the audiences).

Coming back to the songs posted on the blog ten years back, three songs were discussed on that day :-

Song Movie title-Year Remarks
Kitne raanjhe tujhe dekhkar bairaagi ban gaye Ahsaas-1979 04 of 06 songs posted
Aur kuchh der thahar aur kuchh der na jaa Aakhri Khat-1966 All Songs posted
Hame haal e dil tumse kahna hai Chaubees Ghante-1958 05 of 08 songs posted

Let us now listen to today’s song sung by Kishore Kumar and Shailendra Singh. Lyrics are by Indeevar and music is composed by Bappi Lahiri.

(Lyrics are noted as per the audio version which is a longer version with three stanzas)

Video

Audio (longer)

Song-Jo na chhote hain na bade (Ahsaas)(1979) Singers-Kishore Kumar, Shailendra Singh, Lyrics-Indeewar, MD-Bappi Lahiri
Both

Lyrics ( As per the audio version)

jo naa chhote hai naa bade
badi mushkil mein wo pade ae

jo naa chhote hai naa bade
badi mushkil mein wo pade
jo naa chhote hai naa bade
badi mushkil mein wo pade ae

unki mushkilon ka
ahsaas nahin ee
unke liye waqt kisi ke paas nahin
ho jo naa chhote hai naa bade
badi mushkil mein wo pade

unki mushkilon ka
ahsaas nahin ee
unke liye waqt kisi ke paas nahin
ho jo naa chhote hai naa bade
badi mushkil mein wo pade ae

unke liye naa to baahar ki duniya
unke liye naa to ghar ki duniya
unke liye naa to baahar ki duniya
naa is kinaare
naa us kinaare
ho naa is kinaare ae
naa us kinaare
beech dhaare par hai wo khade
jo naa chhote hai naa bade
badi mushkil mein wo pade ae

unki mushkilon ka
ahsaas nahin ee
unke liye waqt kisi ke paas nahin
ho jo naa chhote hai naa bade
badi mushkil mein wo pade ae

hamko sabhi har baat pe tokey
jo khud karey wo hi karne se roke ae
hamko sabhi har baat pe tokey
karey ham kisise pyaar
chheena ye bhi adhikaar
karey ham kisise pyaar
chheena ye bhi adhikaar
mele mein ham to akele khade
jo naa chhote hai naa bade
badi mushkil mein wo pade ae

unki mushkilon ka
ahsaas nahin ee
unke liye waqt kisi ke paas nahin
ho jo naa chhote hai naa bade
badi mushkil mein wo pade

toofaan umangon ka itnaa jyaada
duniya badalne ka apnaa iraada
toofaan umangon ka itnaa jyaada
hamaara jawaan pyaar
tod dega har deewaar
hamaara jawaan pyaar
tod dega har deewaar
bandhan mein kab tak rahenge jakde
jo naa chhote hai naa bade
badi mushkil mein wo pade ae

unki mushkilon ka
ahsaas nahin ee
unke liye waqt kisi ke paas nahin
ho jo naa chhote hai naa bade
badi mushkil mein wo pade ae

——————————————————-
Devnagri Script lyrics (Provided by Avinash Scrapwala)
——————————————————–

जो ना छोटे है ना बड़े
बड़ी मुश्किल में वो पड़े

जो ना छोटे है ना बड़े
बड़ी मुश्किल में वो पड़े
जो ना छोटे है ना बड़े
बड़ी मुश्किल में वो पड़े

उनकी मुश्किलों का
अहसास नहीं ई
उनके लिए वक़्त किसी के पास नहीं
हो जो ना छोटे है ना बड़े
बड़ी मुश्किल में वो पड़े

उनकी मुश्किलों का
अहसास नहीं ई
उनके लिए वक़्त किसी के पास नहीं
हो जो ना छोटे है ना बड़े
बड़ी मुश्किल में वो पड़े ए

उनके लिए ना तो बाहर की दुनिया
उनके लिए ना तो घर की दुनिया
उनके लिए ना तो बाहर की दुनिया
ना इस किनारे
ना उस किनारे
हो ना इस किनारे ए
ना उस किनारे
बीच धारे पर है वो खड़े
जो ना छोटे है ना बड़े
बड़ी मुश्किल में वो पड़े

उनकी मुश्किलों का
अहसास नहीं ई
उनके लिए वक़्त किसी के पास नहीं
हो जो ना छोटे है ना बड़े
बड़ी मुश्किल में वो पड़े ए

हमको सभी हर बात पे टोके
जो खुद करे वो ही करने से रोके ए
हमको सभी हर बात पे टोके
करे हम किसीसे प्यार
छीना ये भी अधिकार
करे हम किसीसे प्यार
छीना ये भी अधिकार
मेले में हम तो अकेले खड़े
जो ना छोटे है ना बड़े
बड़ी मुश्किल में वो पड़े

उनकी मुश्किलों का
अहसास नहीं ई
उनके लिए वक़्त किसी के पास नहीं
हो जो ना छोटे है ना बड़े
बड़ी मुश्किल में वो पड़े

तूफ़ान उमंगों का इतना ज्यादा
दुनिया बदलने का अपना इरादा
तूफ़ान उमंगों का इतना ज्यादा
हमारा जवान प्यार
तोड़ देगा हर दीवार

हमारा जवान प्यार
तोड़ देगा हर दीवार
बंधन में कब तक रहेंगे जकड़े
जो ना छोटे है ना बड़े
बड़ी मुश्किल में वो पड़े ए

उनकी मुश्किलों का
अहसास नहीं ई
उनके लिए वक़्त किसी के पास नहीं
हो जो ना छोटे है ना बड़े
बड़ी मुश्किल में वो पड़े ए


This article is written by Peevesie’s Mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4143 Post No. : 15309 Movie Count :

4216

Hullo Atuldom

Na Chaahoon Sona Chaandi” was the first time I took note of this roly-poly cute- faced actor. He played Braganza, a head-fisherman and father to ‘Bobby’ in 1973. Subsequently I saw him as mama to the character played by Hema Malini in ‘Aap Beeti’ in 1976, a pathan who helps Manoj Kumar in ‘Shor’ (1972), a sardar who was a good Samaritan in ‘Roti Kapda aur Makaan’ (1974).

Then one day on chitrahaar or it could have been chaayageet on Doordarshan I saw a black and white song “Patli Kamar Hai” where this particular actor was super good-looking which was enough to sweep the lady he was wooing, off her feet. He came across as a dancer with a reasonable sense of rhythm. That is when I was informed by my dad that Premnath was a lead actor in many movies and rattled of names like ‘Aab-e-Hayaat’ (1955), ‘Baadal’ (1951), ‘Aag’ (1948) etc. and also sang a few of his songs from movies where he was the hero. Recently, not so long ago, I too saw a black-n-white movie, where Premnath played a ‘supposed’ poor boy who falls in love with a princess and helps the king regain his kingdom, the movie was an Arabian nights kind of story. Think it was ‘Saaqi’ (1952).

So I have loved movies where Premnath was Sir Juda (‘Karz’), Yamraaj (‘Lok Parlok’), IG Khanna (‘Kalicharan’), Bajrang Bahadur (‘Aap Beeti’), Shankar Dada (‘Dharam Karam’), father of a bevy of beauties (‘Ishk Ishk Ishk’, and the most memorable of them all – Rai Saab Bhupendra Singh in ‘Johnny Mera Naam’.  Thinking of him today on his birth anniversary he would have been 93.

There is another celeb of yesteryears who has her birthday today. And I wrote a post for her last month itself where I wrote this “I remembered that November 21st was the birthday of our dear Helen. She turned 81 yesterday (21 October 2019).’’ God only knows what I was thinking as I wrote that post and sent it hurriedly to Atul ji for posting. And the good man that he is, he posted it within an hour of my sending it. But the error was pointed out in the comments section by Partha Chanda ji and Prakashchandra ji. The next day Nahm ji, after reading the comments, messaged me to inquire if I was planning one more post for the actual birthdate and also to see if the song choices were clashing. I assured her that the choices don’t clash as we have a vast library to choose from.  I must say that we had an extra song and extra good wishes for our much-loved Helen.

As my practice has been over the years, I have managed to find a song which features both the birthday celebs. It is from the 1979 release ‘Magroor’’ which starred Shatrughan Sinha, Vidya Sinha, Premnath, Helen, Deven Verma, Nadira, Narendranath, Paintal, Dr. Shreeram Lagoo, Jagdish Raj etc. The film had music by Laxmikant Pyarelal and Anand Bakshi wrote the lyrics. Playback singers were Asha Bhonsle, Suman Kalyanpur, Anuradha Paudwal, Mohd. Rafi, Kishore Kumar, Manna Dey and Mahendra Kapoor. All the 5 songs were duets.

Todays’ song is a club song where we see Helen (Rukhsaana) being wooed by a bunch of suitors (extras) and Premnath joining in on the fun. He is bodily lifted out of the dance floor by the cops at the end of the song. Playback for this song is by Asha and Mannada.

 

Song – Rukhsaana Rukhsaana Main Tera Deewaana  (Magroor) (1979) Singer -Asha Bhosle, Manna Dey, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal
Chorus

Lyrics 

aaaa aaaa aaahaa
aaahaa haaa aaahaa haaa
rukhsaana rukhsaana
main tera deewaana
tu kis ki deewaani
bol o meri jaan
he he
rukhsaana rukhasaana
main tera deewaana
tu kis ki deewaani
bol o meri jaan

rukhsaana dil degi kisi daulat waale ko
rukhsaana dil degi kisi daulat waale ko
pyaar karegi apne jaise kisi matwaale ko

rukhsaana rukhsaana
main tera deewaana
tu kis ki deewaani
bol o meri jaan
he he
rukhsaana rukhsaana
main tera deewaana
tu kis ki deewaani
bol o meri jaan

jis ko mujh se pyaar ho
o ho ho ho
jis ko mujh se pyaar ho
aaye imtihaan de
jis ko ye dil lena ho
pehle apni jaan de
ha ha ha
ha ha
ha ha ha
ha ha
ha ha ha
ha ha ho ho ooo
jal ke jo dikhaaye
dikhaaye
wo mera parwaana
hai
rukhsaana rukhsaana
main tera deewaana
tu kis ki deewaaani
bol o meri jaan
he he
rukhsaana rukhsaana
main tera deewaana
tu kis ki deewaani
bol o meri jaan

rukhsaana jaane jaana..aa
rukhsaana jaane jaana..aa
ishq mein tere
chhoda maine
saara zamaana
rukhsaana jaane jaana..aa
rukhsaana o meri jaane jaana
meri bulbul-e-baghdad
kahaan hai tu

chik bam bam
chik bam bam
bam chik bam bam
chik bam bam
chik bam bam
bam chik bam bam

tere deewaanon mein kaun hai mere jaisa
mere jaisa
arre haat
tere deewaanon mein kaun hai mere jaisa
mere jaisa
pyaar nahin milta
mil jaata hai paisa
mil jaata hai paisa
mera dil naa todo o
mera daaman chhodo
main aashiq tera
naam na lena mera
main de sakta hoon jaan bhi
marna hai aasaan bhi
phir mushkil kya kaam hai
paisa us ka naam hai
khaali dil kis kaam ka
sheeshe ka paimaana
he rukhsaana rukhsaana
main tera deewaana
tu kisi ki raani
poochho meri jaan
rukhsana dil degi kisi daulat waale ko
rukhsana dil degi kisi daulat waale ko
pyaar karegi apne jaise kisi matwaale ko

he rukhsana rukhsaana
main tera deewaana
tu kis ki deewaaani
bol o meri jaan
he he
rukhsaana rukhsaana (rukhsaana)
main tera deewaana (rukhsaana)
tu kis ki deewaaani (o meri bulbul)
bol o meri jaan (kahaan hai tu)
rukhsaana rukhsaana
main tera deewaana (rukhsaana)
tu kis ki deewaaani (rukhsaana)
bol o meri jaan
rukhsaana rukhsaana
main tera deewaana (rukhsaana)
tu kis ki deewaaani
bol o meri jaan


This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4127 Post No. : 15284 Movie Count :

4207

Today 5th November is the eighth remembrance anniversary of Bhupen Hazarika (8 September 1926 – 5 November 2011). I am not adding any adjectives before his name because they will not do justice to describe the ‘personality’ he was, the monumental work he has done, the legacy he has left behind, and finally the ‘human for humanity’ he was.

I have always wanted to write an article on him since I came in to the contact with the blog. And that was only about how I get introduced to the ‘World of Bhupen Hazarika’ through his album ‘Main Aur Mera Saaya’ (2/1993) and his songs like from the movies that I know ‘Rudaali’ (1993) and others, and the famous non-film song “O Ganga Behti Ho Kyon. . .”.

I still remember the day 14th May 1993 (I was staying at Kota-Rajasthan then) when I bought ‘Main Aur Mera Saaya’ on HMV Cassette and me and one of my colleagues from Bengal listened to it. First time I just listened and was curious to know from my friend about the information on Bhupen Hazarika that he was aware of. Thereafter that evening I keep listening to the cassette changing sides till I went to sleep. That was the magic of the voice of Bhupen Hazarika and also the lyrics of the songs describing the various ‘common individuals in the society – the poor, the downtrodden, the suppressed ones’ and specially depicting the culture of Assam.

Around the same time, I think (June-July of 1993) the songs of ‘Rudaali’ were released and had became popular so the cassette of ‘Rudaali’ too became a part of my collection. Before that the Dadasaheb Phalke award for 1992 was announced; it was conferred on Shri. Bhupen Hazarika for his outstanding contribution to Indian cinema and music. After that I think his album with the song “O Ganga Behti Ho Kyon. . .”, couple of songs from ‘Darmiyaan’ (1997) and other non-film songs was released which I bought during my stay at Bareilly.

I was also always remembering the title song from the TV serial ‘Lohit Kinaare’, I think it had the voice of Bhupen Da (if I am not wrong) , but in spite of my continuous search for it I have not been able to find it till date. In between over the years I was only aware of his Assamese and Bengali version of his song “Aawaara Hoon. . .”, which is “Moi Eti Jajabor” in Assamese and “Ami Ek Jajabor” in Bengali. And of course of the Assamese and Bengali versions of the song “O Ganga Behti Ho Kyon. . .” i.e. “Bistirno Parore Ahankh Janore” and “Bistirno Duparer Ashankha Manusher’ respectively.

All these years all of his collection that I was having was always motivating me whenever I listened to the songs and I always cherished this valuable collection with me. After that almost a year back during my regular browsing I got to read about his personal life, his journey from his early years that made Dangor Moina, a child from Sadia, into a towering personality – Bhupen Hazarika. And I realized that one has to read more and more, or if possible, one has to literally live the life of Bhupen Hazarika to understand Bhupen Hazarika in its true ‘human’ spirit. And that surely requires a very detailed post separately.

On his birth anniversary this year (8th September, 2019) when Atul ji presented a post with his song “Ek Kali Do Pattiyaan” and mentioned about the original Assamese version of that song, I immediately checked for it and listen. And I was very excited and happy to enjoy it in Assamese language.

Just a couple of weeks later, there was a discussion on the song on ‘Brahmaputra’ in the ‘Atulites-whatsapp’ group where Atul ji mentioned about the folk singer Kalpana Patowary, so just one day I searched for her songs and came across a link of her performance in the TV musical program ‘Junoon’ where after her performance one of the judges Ila Arun asks her to sing the song of Bhupen Hazarika i.e. “Manuhe Manuhar Babe. . .”. So I looked for this song. When I listened to it first time I was lost in that song and from that day there is not a single day when I have not listened to this and other songs of Bhupen Hazarika in Assamese and Bengali whether I understand it or not.

But, as Bhupen Da himself mentioned in one of his interviews , what MF Hussain had said about him that “. . . when he sings – he paints.”. Here, I would like to add that not only we get to see the picture in front of us, but when he sings, we get involved in those feelings and emotions of those characters that Bhupen Da is singing about, and we unknowingly step into the soul of those characters.

Well, Atul ji’s post and the discussion on the group prompted me to look for the original Assamese and Bengali versions for his songs from the album ‘Main Aur Mera Saaya’. I keep finding them and also found some of them which are given in the table below for those who are interested to listen them. Rather I would request all to please listen to them to understand the ‘nuances’ (as Gulzar saab has said in his commentary in the album ‘Main Aur Mera Saaya’) of the characters.

Song Title (Hindi) Assamese song Bangla Song
Dola Ho Dola Dola He Dola Dola He Dola
Yeh Kiski Sadaa Hai Pratidhwani Suno Pratidhwani Shuni
Us Din Ki Baat Hai Porokhi Puwaate Tulunga
Kitne Hi Saagar Saagar Sangamat Saagar Sangame
Haan Aawaaraa Hoon Moi Eti Jajabor Aami Ek Jajabor
Main Aur Mera Saaya Moi aru mor saa
Ek Kali Do Pattiyaan Ekti kuri duti paata
Aalsi Saawan Badri Udaaye Ek khana megh bheshe elo aakashe

I would request our knowledgeable readers to correct me wherever I had made a mistake and also please provide either the Bangla or Assamese version for the Hindi songs that I have been unable to find in the above list. Also, I would apologize if I have made any mistake in the text while mentioning the songs title in either Assamese or Bengali elsewhere in this post.

Now, coming back to “Manuhe Manuhar Babe”, I found one video link wherein Bhupen Da himself is performing on this song and the details mentioned that this song was composed by him in 1964. And there, just this thought crossed my mind to check if there is a Hindi version of this song since it was the oldest song of Bhupen Da so I thought this should have been naturally translated in Hindi long back and this song both in Assamese and Bengali “Manush Manusher Jonno” (that Atul ji mentioned in his post ), are very popular one. But I could not gather the exact translated words for this song in Hindi if at all the song was made. But finally, I got it when I was listening to the various links available for the song “Insaanon Ne Paise Ke Liye” for Sahir Saab’s Remembrance Day.

So, when I was browsing for the song “Insaanon Ne Paise Ke Liye”, I noticed a link in the suggestions having Bhupen Da’s song “Insaan Insaan Ke Liye” and as I listened to it I had got the song I was looking for. And not just that it was already in the movie which was a Hindi version of ‘Chameli Memsaab’, I also got to listen another one “O Bideshi Bandhu”. What a song that is too. . . as we keep listening they keep growing more and more. . . and more. . .

And nowadays, there is not a single day when I do not listen to Bhupen Da’s song in Assamese or Bengali (even though I do not understand the words fully. But I must say they are very sweet, melodious and healing too). For example, I have listened innumerable times to “Akhom Dekhor Bagisare Sowali” in the voice of Usha Mangeshkar. And then its Bangla version “Asom Desher Meye Aami”. However, it seems that this song was not translated and included in the Hindi version of this movie.

Then there are few songs like “Shahid Pronaamo Tomak” which I like very much. And one song that Bhupen Da has mentioned in the interview (that I referred to above)  “Agnijugor. . .  Nuton Akhom Gadhi, Nutan Bharat Gadhi” which I need to listen, but so far have not found the link for it.

Now I also wish to learn Assamese and Bangla. And as many peoples say very rightly that we should always try and learn the Indian languages other than our mother tongue too. And that is the magic of our rich cultural heritage and of our ‘Unity in Diversity’. Even Bhupen Da an ambassador of ‘humanity’ also plays his role in the process of ‘national integration’ when he talks about that in the above interview.

And that bring us to the song of today, which has been taken from the Hindi moive ‘Chameli Memsaab’ (1979). Bhupen Da won the national award for the ‘Best Music Director’ for the Assamese movie ‘Chameli Memsaab’ at the 23rd National Awards – 1975.

‘Chameli Memsaab’ (Hindi) was directed by Ajit Lahiri for Elem Films, Calcutta. It has Abha Dhuliya, Tom Alter, Freddy Stroud, John McKenzie, Mrs. Freddy Stroud, Carol Alter, Pallavi Mehta, Master Raju, Sushant Sanyal, Mithoon Chakravarty and others. HFGK does not mention about the date of passing of this movie by the Censor Board.

This movie has four songs including one multiple version song. Lyrics for the songs are written by Gajanan Sharma (three songs) and Deep Narayan Mitholiya (one song). Music is composed by Bhupen Hazarika. Bhupen Hazarika, Kamal Ganguly, Arundhati Holme Choudhary and Ila Basu gave their voices to the songs in this movie.

Today’s song is sung by Bhupen Hazarika and Kamal Ganguly and the lyrics are by Deep Narayan Mitholiya (I think singer Kamal Ganguly and lyricist Deep Narayan Mitholiya will be making a debut on this blog).

Let us now enjoy today’s song and welcome ‘Chameli Memsaab’ (1979) on the blog. Let us also remember the great human being Shri Bhupen Hazarika. And remember that we still have a long way to go to explore the writer, composer and singer Bhupen Hazarika.

Thanking Bhupen Da for the vast musical treasure trove of the ‘soul and fragrance of India’

 

Song – Insaan Insaan Ke Liye, Jeevan Jeevan Ke Liye  (Chameli Memsaab) (1979) Singer – Bhupen Hazarika, Kamal Ganguly, Lyrics – Deep Narayan Mitholiya, MD – Bhupen Hazarika
Bhupen Hazarika + Kamal Ganguly
Chorus

Lyrics

insaan insaan ke liye
hmm hmm hmm
jeewan jeewan ke liye
hmm hmm hmm
zaraa si hamdardi ka wo
hmm
kyon haqdaar nahin
o bandhu
insaan insaan ke liye
hmm
jeewan jeewan ke liye
hmm hmm
zaraa si hamdardi ka wo
hmm hmm
kyon haqdaar nahin
o bandhu
insaan insaan ke liye

aa aa aa aa aa
aa aa aa aa aa

insaan insaan ka saudaa kare ae
wo ise rozgaar kare ae
insaan insaan ka saudaa kare
wo ise rozgaar kare
itihaas puraana agar palte
kya sharmaaoge nahin
o bandhu
insaan insaan ke liye ae

kya nuksaan tujhe ae
jeewan ki gehri bhanwar
paar ho tere sahaare ae
kamzor log agar
hmm hmm hmm hmm
kya nuksaan tujhe ae
hmm hmm
jeewan ki gehri bhanwar
paar ho tere sahaare ae
kamzor log agar
hmm hmm
insaan agar na ho insaan
shaitaan kabhi naa hota insaan
insaan agar na ho insaan
shaitaan kabhi naa hota insaan
shaitaan agar ho jaaye insaan
shaitaan agar ho jaaye insaan
kya sharmaaoge nahin
o bandhu

insaan insaan ke liye
hmm hmm hmm
jeewan jeewan ke liye
hmm hmm hmm
zaraa si hamdardi ka wo
hmm
kyon haqdaar nahin
o bandhu
insaan insaan ke liye
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa

————————————————————————————-
Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————————————————————-

इंसां इंसां के लिए
जीवन जीवन के लिए
ज़रा सी हमदर्दी का वो
क्यों हक़दार नहीं
ओ बंधू
इंसां इंसां के लिए
जीवन जीवन के लिए
ज़रा सी हमदर्दी का वो
क्यों हक़दार नहीं
ओ बंधू
इंसां इंसां के लिए

इंसां इंसां का सौदा करे ए
वो इसे रोज़गार करे ए
इंसां इंसां का सौदा करे ए
वो इसे रोज़गार करे ए
इतिहास पुराना अगर पलटे
क्या शरमाओगे नहीं
ओ बंधू
इंसां इंसां के लिए

क्या नुक्सान तुझे ए
जीवन कि गहरी भंवर
पार हो तेरे सहारे ए
कमज़ोर लोग अगर
इंसां अगर न हो इंसां
शैतान कभी ना होता इंसां
इंसां अगर न हो इंसां
शैतान कभी ना होता इंसां
शैतान अगर हो जाए इंसां
क्या शरमाओगे नहीं
ओ बंधू

इंसां इंसां के लिए
जीवन जीवन के लिए
ज़रा सी हमदर्दी का वो
क्यों हक़दार नहीं
ओ बंधू
इंसां इंसां के लिए


This article is written by Peevesie’s Mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4054 Post No. : 15186 Movie Count :

4172

Hullo To all in Atuldom

A very happy Janmashtami or Gokulashtami or Sri Krishna Jayanthi as it is called in the various parts of the country. It is celebrated with a lot of prasads, bhajans and jagrans (in some regions). Jagran means keeping awake. The thought behind this is that Lord Krishna was born in the dead of the night so the devotees keep vigil till that hour. As per mythology it was raining heavily at the time of the Lord’s birth and most of the country is having a good monsoon at this point.

The Srimad Bhagwat Puraan says- at birth the Lord was transported, hidden inside a basket by his father Vasudev, to the house of Nand in Gokul, across a swollen Yamuna. (As if in anticipation of the lord there is a flood alert along the banks of the river Yamuna this year.) The Lord grew up in the loving care of Nand and his wife Yashoda. His baal-leelas (playful pastimes as a child) are described in the 10th Canto of the Srimad Bhagwat Puraan. One of the acts described in great detail is ‘maakhan chori‘ – how the lord Loved to reach out to the pots of curds, milk and butter that used to be hung up in the kitchens of Gokul.

Today’s song shows the day 2 of the Janmashtami / Gokulashtami celebrations that is very common in western India. It is from the 1979 Rajkumar Kohli directed Sunil Dutt- Reena Roy- Bindiya Goswami- Shatrughan Sinha starrer ‘Muqaabla’. It has songs penned by Verma Malik with Laxmi-Pyare as the music directors.  Asha Bhonsle, Kishore Kumar, Anwar, Mahendra Kapoor and Mohd. Rafi are the playback singers used in the movie. The movie was a typical romantic, masaala movie where Sunil Dutt and Shatru play gang leaders. I vaguely remember having seen it, possibly on television, and by the time I discovered it half the movie was over.

But here is the gist as given on IMDB.com:

Sheru (Shatrughan Sinha) and Vicky (Sunil Dutt) are two gang leaders. After a series of complications and mishaps both realize that they will be better off being friends and helping the poor and needy. They also fall in love with two separate women, one of them is Lacho (Reena Roy). When these two turn good guys, the bad guy’s leader Banwanri (Ranjeet) gets angry and vengeful. Fortunately, our two heroes get support from a honest police inspector (Premnath). Then Sheru finds out that Lacho really loves Vicky and his son, this embittered them both against each other. And the two again resume their old rivalry and hatred for each other.

As I said earlier, Janmashtami celebrations continue on to the second day in many parts of India. There are street corner scenes where in pots of goodies along with dahi are tied high up. Groups of youngsters make an attempt at breaking the pots, by making human pyramids and emulating Krishna’s habit of breaking pots which were tied up in the kitchens of yore.

In my younger days (there, I let the cat out of the bag, that I am not so young now though I like to think that I am still a bachcha 🙂 ) we used to have dahi-handi in our apartment complex between the two wings of flats. They used to be tied at a height of 1st floor. We needed a pyramid of three tiers to reach the handi. It was a very simple joyful day. Then as time went by, as in other spheres of life, commercialization set in the dahi-handi festival began to be conducted with prize money attached to the ropes of dahi-handi. This has further grown to the extent that there is this chowk (crossroad intersection) in Thane where the competition is held and the whole road is out of bounds for traffic for the day. And groups of youth practice for months on end to make pyramids which have seven or eight layers. There are numerous cases of people falling and breaking their limbs.  Lately there are also all girl groups in the contest. It is telecast live on all Marathi TV channels and makes for good viewing.

Dahi-handi was made popular in Hindi cinema by Shammi Kapoor in ‘Bluffmaster’ (1965) – the original “Govinda Aala Re, Aala, Zara Matki Sambhaal Brijbaala“.  Various heroes have copied him in subsequent years. In today’s song, we have Shatrughan Sinha and Sunil Dutt have a go at the handi along with Manmohan (in red shirt) and others who are not clear in this video. (A few years back Sonakshi Sinha also had a Govinda song to her name). The song is written by Verma Malik and Laxmikant Pyarelal are the music directors. Mohd Rafi and Kishore Kumar are the playback singers.  I couldn’t stop my smile when I saw Sunil Dutt dancing. Don’t know who the dance master was who gave him steps that were uncharacteristic of Duttsaab. Then Dr. Shreeram Lagoo enters the scene as the advisor of peace and I was desperately trying to recognize the actor in the light brown shirt with a head band who was trying to raise bets on who will break the handi. The finale of the song is the whole pyramid collapsing when this actor pokes a pin into the feet of one of the govindas (that is what the boys in the pyramid are called)

Govinda Aala Re!!!!

Song – Teen Batti Waala, Ae Govinda Aala  (Muqaabla) (1979) Singer -Mohammed Rafi, Kishore Kumar, Lyrics – Verma Malik, MD – Laxmikant Pyaarelal
Chorus

Lyrics (Provided by Prakashchandra)

teen batti waala
ae govinda aala
ae teen batti waala
he govinda aala
govinda govinda govinda
he govinda govinda govinda
rassi pe latki mitti ki matki
matki mein maal masaala
govinda
govinda
govinda teen batti waala
dekho matki phodne aala re aala

he laal patti waala
govinda aala
he laal patti waala
he govinda aala
govinda govinda govinda
he govinda govinda govinda
oopar latak ke niche patak ke
loot lo maal masaala
govinda
govinda
govinda lal patti waala
apni sena ko lekar aala re aala

baandh kataare daal do ghera
is matki par haq hai mera
baandh kataare daal do ghera
is matki par haq hai mera
sar koi uthaaye
sar ko jhuka do
haath uthe to
haath uda do
haathon ke tote ud jaayenge
hum se jo pad gaya paala
govinda
govinda
govinda teen batti wala
dekho matki phodne aala re aala

naam mera duniya pehchaane
bachcha bachcha mujhko jaane
naam mera duniya pehchaane
bachcha bachcha mujhko jaane
kadam uthe to
duniya jhukti
chalti hawa mujhe dekh kar rukti
mere haath se bach kar jaaye
bach kar jaaye
jaaye koi kismat wala
govinda
govinda
govinda lal patti wala
apni sena ko lekar aala re aala

govinda aala re aala
govinda aala re aala
is matki ko hum lootenge
govinda aala re aala
dekhna phir kayi sar phootenge
govinda aala re aala
hai muqaabla hum cha tum cha
koi na aaye beech mein chamcha
dekhta hoon mai tera hausla
kar doonga main abhi faisla
teen batti to jalti rahegi
lal patti bhi to chamakti rahegi
teen batti to jalti rahegi
lal patti bhi toh chamakti rahegi

[dialogues]

govinda govinda govinda govinda
he ae ae ae
govinda govinda govinda govinda
he ae ae ae
govinda govinda govinda
govinda govinda govinda
govinda govinda govinda
govinda govinda govinda
govinda govinda govinda
govinda govinda govinda
govinda govinda govinda
govinda govinda govinda


This article is written by Raja, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 4030 Post No. : 15147

It is that day of the year again.

The 31st of July.

A date that doesn’t need any reminder for lovers of HFM.

Of all the days in the calendar, a few stand out – and the 31st of July is one of them.

For it is the death anniversary of one of the most loved and respected figures of the Hindi film industry, Mohammad Rafi, respectfully referred to as Rafisaab.

Today on his 39th death anniversary, we on this blog, remember him with great fondness and respect.

I’ve written about Rafisaab many times here on this blog. In fact, there’s no one I have written about more than about Rafisaab.

To be honest, there really isn’t anything more for me to say that I haven’t already said before.

How I, growing up in a Kishore-dominated era, fell in love with Rafisaab’s voice.

How I’ve done all-nighters listening to Rafisaab songs, completely losing track of time.

How much I respect Rafisaab for being such a good human being, inspite of having the power to abuse his position, if he had wanted.

I’ve written about all this – and more. And I don’t want to bore readers here by repeating stuff.

Not that I get bored of writing about Rafisaab. Never. When I don’t ever get bored of listening to his voice, how can I possibly get bored of writing about him? It is such a pleasure, and an honour, to write about Rafisaab.

So whether I have any new material or not, I will write about Rafisaab – even if it is only a few lines. That is the very least I can do for someone who has given me so much joy in life. And on his Remembrance Day, I just have to write a few lines for him – to thank him for everything.

Different people make a mark in this world for different reasons. Not all leave a legacy of course, but I doubt even those who do, have any idea of the magnitude of the legacy they would leave behind. And its endurability.

I doubt Rafisaab thought about all this when he was alive. He was a simple man, happy to earn his living through the one profession that he loved, and knew he was loved for – singing. Even for that, he was humble enough to always point upwards, to God, to suggest He was to thank for everything.

Rafisaab was very soft-spoken. For all his animation while singing, he was an extremely shy person in conversation and avoided interviews. Which is also why there are very few interviews of him available out there. It is our loss, but then that was the person he was. At least we have his songs, and anecdotes of those who knew him with us.

Rafisaab was devoted to his profession – he would do riyaaz for hours. He enjoyed spending time with his family. And enjoyed playing badminton. And good food. A man who always had a smile on his lips, who never thought ill for others – on the contrary, he went out of his way to help others.

A simple man – but what a legacy!

One that he would never have imagined during his lifetime.

Even today, 39 years after he is gone, there isn’t a day when his songs are not playing on radio. There isn’t a day when HFM lovers from around the world are not listening to his songs on whatever device they have. Today, thanks to technology, we have access to music on demand.

Yes, Rafisaab has enriched the lives of millions by his sheer voice. And that, for decades. And, I am sure, will continue for decades too. Such is the love people have for Rafisaab. It transcends generations.

This is another aspect that makes me really happy for him. It is great to see young generations today, even teenagers, listen to Rafisaab’s songs. Of course, their music interests are current too – and they should be. But from what I’ve seen, many of them are still happy to listen to old HFM songs – and Rafisaab, of course. Which is why I say Rafisaab’s voice transcends generations.

In my own case, I know my next generation is also very fond of Rafisaab. My niece’s husband invariably plays Rafisaab songs in his car. Not just for me, but for himself too. Not that my niece complains. She is herself very fond of Rafisaab. 🙂 They like current songs too, but Rafisaab is a fixture in their car. Especially 1960s songs like “dil ke jharoke mein”, “pukaarta chala hoon main” and “deewana hua baadal”. I swear, I did nothing to influence them – it all happened by itself. 🙂 Actually, my niece’s father-in-law is also a Rafisaab fan, so maybe that played a role too.

Now my niece has a kid – he is not even 3, but I have a feeling he will also soon be listening to Rafisaab. 🙂

I will not be surprised if this is the story in many other families too. I hope it is – then Rafisaab’s legacy is in safe hands.

Rafisaab deserves nothing less. A person with such a divine voice, a person who had such a good heart, who did good for so many, deserves every little bit of love and respect he gets.

I always have a warm feeling, and feel energized, when I discuss, or write about, Rafisaab. His songs immediately come to my mind, THAT voice, those intonations in the rendering. I get lost, happily so, thinking about his songs.

I can keep going on and on, but then I will be repeating what I’ve written in the past. And will be boring the readers. 🙂

So I’ll just move on to the song for today.

This is from Jaani Dushman (1979). A decade right up my sleeve, given that I’m a 1970s boy. Avinashji, himself a huge Rafisaab fan, sent me the lyrics and requested me to do a write-up.

By the late 70s, Rafisaab had regained his place in public mindspace. The first half of the decade had been totally dominated by Kishore Kumar (inspite of a few Rafisaab hits). But by the mid-70s, Rafisaab began coming back. I remember Laila Majnu (1976) songs being a success. A year later, he had chartbuster hit songs in Amar Akbar Anthony (1977), Hum Kisise Kam Nahin (1977) and Apnapan (1977), to mention just three films.

And so he continued, with hits in Abdullah (1980) and Karz (1980), right until his untimely death.

Jaani Dushman (1979) was during his revival phase.

The film has the popular, foot-tapping Rafisaab-Asha Bhosle duet “tere haathon mein pehna ke chudiyaan”, but also the song of today “chalo re doli utthao kahaar” (which comes multiple times in the film, if I remember right), was popular too.

The film itself is a multi-starrer in keeping with the trend of the time. Those were the days of multi-starrers – many commercial films had two or more lead heroes and heroines. JD went a step further, and must be considered a mother of multi-starrers – it had at least 5 “heroes” – Jeetendra, Sanjeev Kumar, Vinod Mehra, Shatrughan Sinha and Sunil Dutt. And Rekha, Reena Roy, Bindiya Goswami, Neetu Singh and Sarika amongst the “heroines”. Other movies of that era that were multi-multi-starrers that come to mind are Naagin (1976) and the Burning Train (1980).

I remember seeing the film at the time, but given my pathetic memory, I don’t remember too much of it. I do remember that it was meant to be a horror film of sorts, where a monster is supposed to murder every newly-wed bride. Something like that.

The songs of the film were quite popular, and the film too did well I think.

“Chalo re doli utthao kahaar” is a background song, picturised during the bidaai of a daughter as she leaves her parents’ home. It is a typical Rafisaab song – he was very good at emotional, background songs of this type. With their ebbs and flows.

Talking of emotional, background songs, am reminded of Ravi, the composer of songs of Waqt (1965) saying he had insisted with the Chopras on Rafisaab singing “waqt se din aur raat”, though Mahendra Kapoor, and not Rafisaab, was generally their preferred singer. He had said that this song would suit Rafisaab more than anyone else.

Similarly Kalyanji Anandji picked Rafisaab to sing a couple of lines as background song in that death scene in Muqaddar Ka Sikandar (1978) – “zindagi to bewafa hai, ek din thukraayegi”. Anandji said in an interview that he was a bit embarrassed to ask Rafisaab to sing those lines, because he had no other song in the film, and it was only a couple of lines. But he wanted them to be in Rafisaab’s voice. Without the slightest ego, Rafisaab rendered those lines with his usual high standards.

L-P, ever loyal to Rafisaab, even during Kishore Kumar’s peak, used him to render the emotional background song “nafrat ki duniya ko chhod ke” of Haathi Mere Saathi (1971) even though Kishore Kumar sings the songs picturised on Rajesh Khanna.

This song for today is also an L-P composition. I request you to please listen to this song – and remember Rafisaab today.

Rafisaab, you will always be in our hearts. The years roll by, but the love and respect does not diminish one bit. For what you’ve given the world, millions are ever grateful to you.

Personally, I can’t thank you enough, hence this post as a humble tribute.

(As mentioned above, lyrics for today’s song have been provided to me by Avinashji. I thank him for providing me these lyrics).

Video

Audio

Song-Chalo re doli uthhaao kahaar piya milan ki rut aayi (Jaani Dushman)(1979) Singer-Rafi, Lyrics-Verma Malik, MD-Laxmikant Pyarelal
Chorus

Lyrics (Provided by Avinash Scrapwala)-Based on audio link

Hmm hmm hmm
Hmm hmm hmm hmm hmm
Hmm hmm hmm
Hmm hmm hmm hmm hmm

Ho o
Chalo re doli uthhaao qahaar
Piya milan ki rut aayi ee
Hmm hmm hmm
Hmm hmm hmm hmm hmm

Ho o
Chalo re doli uthhaao qahaar
Piya milan ki rut aayi ee
Pi ki nagri le jaao
Qahaar
Piya milan ki rut aayi
Chalo re doli uthhaao qahaar
Piya milan ki rut aayi
Hmm hmm hmm
Hmm hmm hmm hmm hmm

Jin nainon ki ee tu hai jyoti
Un nainon se ae barse moti
Daawaa nahin hai
koi Zor nahin hai
Beti sadaa hi paraayi hoti
Jaldi naihar se le jaao
Qahaar
Piya milan ki rut aayi
Chalo re doli uthhaao qahaar
Piya milan ki rut aayi ee

Chhaayi hai dekho hariyaali ee ee
Aayi hai rut khushiyon waali ee
Har aasha parwaan chadhi ee ee ee
Din hai Dashehra
Raat deewaali ee
Galey daal baahon ka haar
Qahaar
Piya milan ki rut aayi
Chalo re doli uthhaao qahaar
Piya milan ki rut aayi

Tan maike man teri nagariyaa
Ud jaaun main Ban ke badariyaa
Chaand nagar ko Chali chakori ee ee
Pyaasi hoon milan ki sanwariyaa
Mere sapne sajaao
Qahaar
Piya milan ki rut aayi ee
Chalo re doli uthhaao qahaar
Piya milan ki rut aayi

Sooni padi ee
Bhaiyya ki ee haveli
Vyaakul behnaa aa
Rah gayi akeli ee
Jin sang naachi
Jin sang kheli ee
Chhoot gayi wo o
Sakhi Saheli ee
Ab naa deri lagaao
Qahaar
Piya milan ki rut aayi
Chalo re doli uthhaao qahaar
Piya milan ki rut aayi
Piya milan ki rut aayi
Piya milan ki rut aayi ee

—————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————————–
हं हं हं
हं हं हं हं ह
हं हं हं
हं हं हं
हं ह
हं हं हं

हो ओ
चलो रे डोली उठाओ कहार
पिया मिलन की रुत आई ई
हं हं हं
हं हं हं हं ह

हो ओ
चलो रे डोली उठाओ कहार
पिया मिलन की रुत आई ई
पि की नगरी ले जाओ
कहार
पिया मिलन की रुत आई
चलो रे डोली उठाओ कहार
पिया मिलन की रुत आई
हं हं हं
हं हं हं
हं हं ह

जिन नैनों की तू है ज्योति
उन नैनों से बरसे मोती
दावा नहीं है
कोई जोर नहीं है
बेटी सदा ही पराई होती
जल्दी नैहर से ले जाओ
कहार
पिया मिलन की रुत आई
चलो रे डोली उठाओ कहार
पिया मिलन की रुत आई ई

छायी है देखो हरियाली ई ई
आई है रुत खुशियों वाली ई
हर आशा परवान चढ़ी ई ई ई
दिन है दशहरा
रात दिवाली ई
गले डाल बाहों का हार
कहार
पिया मिलन की रुत आई
चलो रे डोली उठाओ कहार
पिया मिलन की रुत आई

तन मयके मन तेरी नगरिया
उड़ जाऊं मैं बन के बदरिया
चाँद नगर को चली चकोरी ई ई
प्यासी हूँ मिलन की सांवरिया
मेरे सपने सजाओ
कहार
पिया मिलन की रुत आई ई
चलो रे डोली उठाओ कहार
पिया मिलन की रुत आई

सूनी पड़ी ई
भैय्या की ई हवेली
व्याकुल बहना आ
रह गयी अकेली ई
जिन संग नाची
जिन संग खेली ई
छूट गयीं वो ओ
सखी सहेली ई
अब ना देरी लगाओ
कहार
पिया मिलन की रुत आई
चलो रे डोली उठाओ कहार
पिया मिलन की रुत आई
पिया मिलन की रुत आई
पिया मिलन की रुत आई ई


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4010 Post No. : 15117 Movie Count :

4152

Songs Repeated in Hindi Films – 6
– – – – – – – – – – – – – – – – – –

The heart must have missed a beat – on reading the title of this post. Goodness. . . this wonderful iconic song, 65 years ago – it captured the imagination and the hearts of a generation, nay, many a generation of young hearts in love. This unforgettable song is imprinted on the sands of memory, never to be erased by any winds that may blow, till the end of life.

The golden age of melody was at its peak. The manner in which Shailendra knit together the words and lines of this love song – cannot be and has not been bettered since. The melody and the orchestration conceived by Shanker Jaikishan – the arrangement of the instruments, the preludes, the interludes, the rhythm – everything just perfect in this song. The renditions – Manna Da and Lata – the voices working together seamlessly – rising and falling in unison, and in apposition, complementing, merging – the “aa haa haa” lines going up all the way to the clouds. The lines

pyaar jo toota
saath jo chhoota

receding into the depths of somber apprehensions, and then suddenly a rising declaration of a resolution,

chaand na chamkega kabhi

the rendition volume going up all the way to the moon. The resolve expressed with such a dignified confidence in the nature’s machinations. The moon – no it will never stop shining, and thus, by implication, this love will never be broken, this companionship will never part. And suddenly, instinctively, unknowingly there is a lump in the throat and a warm moisture on the corners of the eyelids. Yes, yes – that is what love is – the poet, the music-waala, the singers – yes, they have got it just right, on the dot. Yes that is what love is, what it ought to be. Such noble souls lived in that golden era – who could feel it right, and conjure up an imagination, combining the words, the music and the sound – and then tell it to us so simply – that no further discourse would be necessary.

I am reminded of another quintessential song from the same film –

ramaiya vasta vaiya
maine dil tujhko diya

And once again, the simplest of words, the simplest verse one can conjure up – and there is no better way, no better words invented, before or since, to say – I love you.

And the scene, the depiction – the conceptualization – a master presenter is at work here. Here is an emotional entanglement coming to fruition in the hearts of two young people, almost at the very bottom of the ladder of social significance. A part time employee at a laundry, who has “borrowed” a suit that has come for cleaning, and his shoes are in tatters. A self employed teacher, who gives basic education to the underprivileged children in the backyard of her own home. But then love does not check on social status, or verify your bank balances, before making a burrow into the hearts. That love is simple. That love is without embellishments. That love is honest and innocent. That simply is love, and it happens, just happens.

The overcast skies, the lashing rains, the amused witness – the chaiwaala (tea seller), the incidental umbrella, the handy tootle that the young man plays, the happenstance of three cheruby toddlers in raincoats – all put together in a scenario that simply cannot now be erased from the memory’s palette.

The emotional expressions of the leading pair are just as consummate and accomplished as the scenario itself. The sharing of the umbrella becomes such a pivotal exchange. The young man offers it to the lady. And she hands it back, seeing him getting drenched. He takes it, but then sees that she is in the same plight, so immediately offers it back to her. She once again takes it, and with a helplessness writ large on her face, sees him getting drenched once again. And then the inevitable happens. With her eyes clenched, and her lips trembling with apprehension, she inches closer to him – dawning of the realization that one must share when there is a need. And the two come close now, holding the same umbrella – realizing that in love, one has to share, one has to hold together, and one has to steady each other against the squall of the winds and outpourings of this ruthless world.

And then the song begins – question by the young man, not specifically directed at her, but at himself too. And the lady answers, for both of them together – “. . . Maaloom Nahin Hai Kahaan Manzil . . .”. One of the supreme examples of cinema at its very best, in telling about emotions that shake a heart when the love is just starting to take baby steps in there. Marvellous . . . simply marvelous – much more than the best of the words can express.

Um. . . kind of got carried away with the original. 🙂

25 years after the release of the original, this song was used once again in the 1979 film ‘Salaam Memsaab’. And the manner of use is so very innovative. A little earlier, back in 1970, when ‘Mera Naam Joke’ was released, at the beginning of part II we see Raj Kapoor at the Bombay Carnival, hosting a bioscope stand, singing “Kehta Ha Joker, Saara Zamaana. . .”. And as he sings, he is operating the bioscope in which we are treated to clips of his earlier films, especially ‘Awaara’ and ‘Shri 420’. It is fun to watch those clips in fast forward mode.

In ‘Salaam Memsaab’, a similar presentation is used. A little background. Radha (role played by Zarina Wahab) and Sunder (role played by Asrani) are two young people, friends and in love. They are the street tamaasha people who sing and dance on the roadside to earn their living. Sunder has high aspirations, and wants to become rich quickly. Radha also has aspirations, but she is averse to making compromises with her principles of honesty and truthfulness. They work together, but this difference in their view of life generates arguments.

Near the beginning of the film, just about half hour into it, Radha chances to see a bioscope man, playing his machine near the Gateway of India. She gets in line and starts watching – she gets in when the song “Pyaar Hua Iqraar Hua Hai. . .” is starting to play. We can see her enjoying the show, and then as the lead pair comes on at the beginning of the song, she gets into a different dreamy dimension of fantasy, and instead of seeing Raj Kapoor and Nargis on the screen, she sees herself and Sunder there, performing the same song, singing and expressing their newly discovered love for each other. She is fascinated, and the entire song is replayed on the screen in front of her, performed now by the two new lovers.

This is a very innovative presentation. In the singing parts of the clip, we can see Radha and Sunder performing, and in the other parts of the clip, the director uses the original footage and scenes. The entire song moves back and forth between the now Radha and Sunder, and the earlier scenes. Very interestingly edited and put together. E.g. when the line “Phir Bhi Rahengi Nishaaniyan” is playing, the scene clips back to the original version and we see the three toddlers with raincoats, toddling through the rain. Readers may recall that in the original version, the three kids are the children of Raj Kapoor – Ritu, Randhir and Rishi. The clip cuts back and forth between the current version, shown in subdued colors and shades, and the original version shown in black and white. Very intelligently designed.

In her dream of wide open eyes, Radha sees herself and Sunder, in an exact image of the hero and heroine on screen. As one watches their movements and expressions, the effort has been made to create an exact replica not just of the scenario, but also of the performance and expressions. You can open up two windows in the video playing software, and play the two songs, this one and the original, side by side. One is amazed by the effort made by Zarina and Asrani to replicate the performance as nearly as possible. Ah, we know it is not Raj Kapoor and it is not Nargis. But still it is a very impressive performance to see.

The film ‘Salaam Memsaab’ is produced under the banner of Roshan Films, Bombay and is directed by Asrani himself. The cast of actors includes Asrani, Zarina Wahab, Ranjeet, Manju Bansal, Rahman, Keshto Mukherjee, Asit Sen, Jugnu, Leela Mishra, Sulochana (Senior), Tom Alter, CS Dubey, Arvind Rathore, Anand Girdhar, Amol Sen, Dilip Tahil, Nilu Arora, Master Jeetu, Yusuf, and Raju, with friendly appearances by Ashok Kumar, Sunil Dutt, Yogita Bali, and Rishi Kapoor. The songs of this film are written by Majrooh Sultanpuri and the music is by RD Burman. Seven songs are listed for this film which have been rendered by Mohamed Rafi, Kishore Kumar, Lata Mangeshkar and Asha Bhosle.

This song, being a reuse, is not listed in Geet Kosh. And as I mentioned in an earlier episode of this series, it is not easy to track down such re-use songs, unless one has actually seen the film(s). I had also written that since I started this series, I have been getting inputs from many friends, from our bandwagon and also from others in our music lovers group, about such reuse songs. Since these songs are generally not listed, such inputs from friends has really added many interesting reuse scenarios that I was not aware of.

Today’s song was sent in as a suggestion from Anekant ji. He is a regular contributor in our comments section, and I am sure all are familiar with him. Not being aware of this reuse song, I am delighted to get this input from him. A real wonderful song, and a real wonderful reuse after twenty five years – from 1954 to 1979 to 2019 – and forty more, when we are now reading about it once again. 🙂

A reuse that takes you into a fantasy land of a dream of wide awake eyes. I am sure all of us have had some similar experience some time or another in our lives. Apologies for the digression, but I just remembered another such on screen ‘dream of wide awake eyes’ which I just cannot resist mentioning. 🙂 For all those who have seen and remember ‘Chhoti Si Baat’ (1972). Yes, I am referring to the song “Jaaneman Jaaneman Tere Do Nayan”. Amol Palekar is watching the film in a theatre. Onscreen the song is being performed by Dharmendra and Hema Malini. And within a few seconds, Amol Palekar goes into this ‘dream of wide awake eyes’, and through his eyes, we see the song being performed on screen by himself and Vidya Sinha. The reverie is quiet painfully broken as the villain appears at the end of the song and hits the hero with a belt. (Just from that split second profile, my feeling has been that it was actor Manmohan, the villain I mean.)

Ah so, we have a new category of songs to mull over – ‘dream of wide awake eyes’. And I am sure the readers will recall many such songs in Hindi films – yes, we do that a lot. 🙂

Enjoy today’s wonderful reuse treat and let’s wait for the next – what more such entertaining surprises are coming up.

Song – Pyaar Hua Iqraar Hua Hai  (Salaam Memsaab) (1979) Singer – Manna Dey, Lata Mangeshkar, Lyrics – Shailendra, MD – Shanker Jaikishan
Manna Dey + Lata Mangeshkar

Lyrics

pyaar hua
iqraar hua hai
pyaar se phir kyun darta hai dil
pyaar hua
iqraar hua hai
pyaar se phir kyun darta hai dil
kehta hai dil
rasta mushkil
maaloom nahin hai kahaan manzil
kehta hai dil
rasta mushkil
maaloom nahin hai kahaan manzil
pyaar hua
iqraar hua hai
pyaar se phir kyun darta hai dil
kehta hai dil
rasta mushkil
maaloom nahin hai kahaan manzil
pyaar hua
(aaa aaa aaa)
iqraar hua hai
(aaa aaa aaa)
pyaar se phir kyun darta hai dil
(aaa aaa aaa)

kaho ke apni preet ka
geet na badlega kabhi
tum bhi kaho is raah ka
meet na badlega kabhi
pyaar jo toota
saath jo chhoota
chaand na chamke ga kabhi
aaa haaa haaa
aaa haaa haaa
aaaaa haaa haaa
aaa aaa aaa

aaa aaa aaa
aaa aaa aaa
aaa aaa aaa
aaa aaa aaa
aaa aaa aaa
pyaar hua
iqraar hua hai
pyaar se phir kyun darta hai dil
kehta hai dil

rasta mushkil
maaloom nahin hai kahaan manzil
pyaar hua
(aaa aaa aaa)
iqraar hua hai
(aaa aaa aaa)
pyaar se phir kyun darta hai dil
(aaa aaa aaa)

raaten dason dishaaon se

kahengi apni kahaaniyan
geet hamaare pyaar ke
dohraayengi jawaaniyan
main na rahoongi
tum na rahoge
phir bhi rahengi nishaaniyaan
pyaar hua
iqraar hua hai
pyaar se phir kyun darta hai dil
kehta hai dil
rasta mushkil
maaloom nahin hai kahaan manzil
kehta hai dil
rasta mushkil
maaloom nahin hai kahaan manzil
pyaar hua
(aaa aaa aaa)
iqraar hua hai
(aaa aaa aaa)
pyaar se phir kyun darta hai dil
(aaa aaa aaa)

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

प्यार हुआ
इक़रार हुआ है
प्यार से फिर क्यों डरता है दिल
प्यार हुआ
इक़रार हुआ है
प्यार से फिर क्यों डरता है दिल
कहता है दिल
रस्ता मुश्किल
मालूम नहीं है कहाँ मंज़िल
कहता है दिल
रस्ता मुश्किल
मालूम नहीं है कहाँ मंज़िल
प्यार हुआ
इक़रार हुआ है
प्यार से फिर क्यों डरता है दिल
कहता है दिल
रस्ता मुश्किल
मालूम नहीं है कहाँ मंज़िल
प्यार हुआ
(आ आ आ)
इक़रार हुआ है
(आ आ आ)
प्यार से फिर क्यों डरता है दिल
(आ आ आ)

कहो के अपनी प्रीत का
गीत ना बदलेगा कभी
तुम भी कहो इस राह का
मीत ना बदलेगा कभी
प्यार जो टूटा
साथ जो छूटा
चाँद ना चमकेगा कभी
आ हा हा
आ हा हा
आss हा हा
आ आ आ
आ आ आ
आ आ आ
आ आ आ
आ आ आ
आ आ आ
प्यार हुआ
इक़रार हुआ है
प्यार से फिर क्यों डरता है दिल
कहता है दिल
रस्ता मुश्किल
मालूम नहीं है कहाँ मंज़िल
प्यार हुआ
(आ आ आ)
इक़रार हुआ है
(आ आ आ)
प्यार से फिर क्यों डरता है दिल
(आ आ आ)

रातें दसों दिशाओं से
कहेंगी अपनी कहानियाँ
गीत हमारे प्यार के
दोहराएंगी जवानियाँ
मैं ना रहूँगी
तुम ना रहोगे
फिर भी रहेंगी निशानियाँ
प्यार हुआ
इक़रार हुआ है
प्यार से फिर क्यों डरता है दिल
कहता है दिल
रस्ता मुश्किल
मालूम नहीं है कहाँ मंज़िल
कहता है दिल
रास्ता मुश्किल
मालूम नहीं है कहाँ मंज़िल
प्यार हुआ
(आ आ आ)
इक़रार हुआ है
(आ आ आ)
प्यार से फिर क्यों डरता है दिल
(आ आ आ)

 


This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

This post is the 200th contribution of Avinash ji. Congratulations.

Blog Day :

3996 Post No. : 15091 Movie Count :

4141

#the Decade of Seventies – 1971 – 1980 #
———————————————————–—-
#Bhoole-Bisre Geet # 84 #
—————————————-

(Cricket related memories & statistics #1)

During the 15k celebrations on our blog, our beloved Rajaji in his post – ‘Dil To Maane Naa, while congratulating all and wishing that this ‘musical journey’ just goes on and on … mentioned about the next target ‘15921’…!!! Now everyone was thinking of this ‘15921’? But it took Rajaji himself to give some hint and then it was disclosed to everyone. The figure was related to ‘Cricket Statistics’.

At that time, I had decided an article but as I progressed with the selection of the song and finally getting delayed with the article, I decided to do two articles first about the statistics part of my journey on the blog and the second one about my cricket related memories. So, here is the first article being posted today…

The reason for Rajaji’s mentioning of 15921 was Sachin’s runs scored in test cricket and after 15k we should look forward to this new target. This post of mine is too related to statistics but not of cricket though given by the Cricket World Cup around, statistics do also trigger some beautiful memories. However here I am looking for my own statistics on the blog and taking a look on how it has been for me so far on the blog.

My first lyrics contribution ‘Pyaar Ka Badlaa Mujhe Dekho Kaisa Milaa’ was posted on the blog on 13.09.2012 which was 1518th day for the blog and this was the 6633rd post on the blog. I tried my first article for the blog in Feb’2013 and it was posted on 26.02.2013.  This was 1684th day for the blog and this post was the 7565th post. (The song covered in this post was ‘Sang Mere Nikley Thhe Saajan’ from ‘Phir Wahi Raat (1980).

After that it took me 752 days to reach my twenty-fifth post on 20.03.2015 – ‘Na Koi Paisa Na Ilm Banaao Bambai Mein Film and that was 2436th day for the blog. It was the 10962nd post on the blog.

I feel very happy on my ‘quarter century’ and it reminded me of my favourite commentator Sushil Doshi’s words – “aur isi ke saath ye (Dilip Vengsarkar ki) quarter century poori”. . . (I don’t know why but I mostly remember ‘quarter century’ with Sushil Doshi’s commentary is for Dilip Vengsarkar. May be because whenever Vengsarkar was coming to bat he would easily score his first twenty-five runs very quickly 🙂 .

After that I was slowly getting into regular writing of articles for the blog. So, I reached my fiftieth post on 05.09.2015 with – ‘Krishna Krishna Bolo Krishna which was 2604th day and 11385th post for the blog. I entered the nineties on 31.07.2016 and it was 12280th post on the blog and the blog had become 2935 days older then.

Nineties mein aane ke baad, while I was eager to get to my first hundred, on the other side I was constantly remembering Chetan Chauhan one of my most favourite cricketer who never reach a hundred in test cricket, though me and many of friends were always praying for him, and always sincerely wished that he should get a hundred on his name. Well, it took me eighty-two days to reach from ninety to hundred. This was on 21.10.2016, and the song covered was ‘Bade Dinon Mein Khushi Ka Din Aaya’ (very appropriately though) and it was 3017th day for the blog, 12475th post of the blog.

Cricket mein century banaane ke baad jitni khushi ek batsman ko hoti hogi utni hi khushi mujhe bhi huyi 🙂 . By the time I completed my hundred posts on the blog, in the other category that is ‘lyrics contribution’ I had already scored over three hundred. And, since I always think myself an all-rounder (or a good all-rounder at least (not necessarily in cricket)) I was reminded of the many great achievers who scored a ‘hundred’ in both batting and bowling or bowling and batting in test cricket (or one day internationals too).

So, I was very happy on my ‘double’ achievement and it reminded me the doubles by the top famous all-rounders in test cricket. For me it was always of Kapil Dev.

In this process I had also completed a hundred in ‘Devnagri Script’ category and so I was the first to have scored a ‘hundred’ in the three (main) categoris on the blog. After that Sudhir ji reached a hundred in the ‘lyrics contribution’ category and that was a ‘Senior’s entry’ to this ‘triple’s club’ 🙂 .

My one hundred and fiftieth post came on the 3545th day of the blog with this song – ‘Jin Khoja Tin Paayiyaan’ – on 02.04.2018, the post number being 14228th.

Reaching 175 did reminded me of Kapil Dev’s 175 against Zimbabwe, how can anyone forget that? I remember we had gone to the nearby city for some work and when I was heading to my home in the colony few of my friends told me about the score of Indian batting which was very shocking for me. As I reached home Kapil Dev was already on the crease, so what I do was to take the transistor with me in the ground- so that I can concentrate alone (and may be the transmission was not clear inside home, I don’t remember it fully now) near my home where we use to play cricket to listen the commentary there because the match was already very tense. But as Kapil Dev started hitting the ball to each corner of the ground the excitement was on the top and the rest, we all know is a history now.

My first lyrics contribution was the 6633rd post on the blog. And today as I share this post on this 3996th day for the blog, this is the 15091st post on the blog.

Before I joined the blog, the blog had 340 songs penned by Sahir Ludhianvi already covered on the blog and the today’s song is Sahir Saab’s 623rd song on the blog. In between I had also completed a century of my contribution for Sahir Ludhianvi songs on 27.03.2015, with the song “Teri Karam Kahaani Teri Aatma Bhi Jaane“,  on the 2443rd day for the blog, and so far I think have been successful in contributing around 130 songs of Sahir Saab. May be the final tally will cross 150 if everything goes well. The journey is on!!! 🙂

In between I had an opportunity to share a long song six-part song – “Sambhaalo Ae Watan Waalon Watan Apna Sambhaalo“, and I think I can take it as the highest score in an innings in any type of contribution here (lyrics and lyrics in Devnagri script) except the write up/post, and will always remind of the highest score in test cricket which is 400* not out by Brian Lara. 🙂

On the way I do secretly completed my fourth hundred in ‘lyrics contribution’ (like the third one), however nowadays in this ‘age of technology’ the secrets cannot be hold for too longer and when I was silently moving towards another ‘achievement’, which I thought would also pass on secretly, there were already ‘some signals’ asking me about it and I realized that ‘ab raaz chhupaana mushqil hai’. . . 😉

For today’s post too I have selected a song penned by Sahir Saab and composed to music by Ravindra Jain ji. This movie ‘Ham Tere Aashiq Hain’ (1979) was the first collaboration of Sahir Ludhianvi and Ravindra Jain the other being ‘Insaaf Ka Taraazu’ in 1980. All songs for ‘Insaaf Ka Taraazu’ have already been covered on the blog.

Today we get introduced to the film ‘Hum Tere Aashiq Hain’ from 1979.

‘Hum Tere Aashiq Hain’ was directed by Prem Sagar for his home production Prem Sagar Films, Bombay and under the banner of Sagar Art Enterprises. It was presented by Ramanand Sagar.

It had Jeetendra, Hema Malini, Amjad Khan, Dr. Shreeram Lagoo, Om Shivpuri, Sujit Kumar, Sheetal, Keshto Mukherjee, Arvind Trivedi, Ram Sethi, Mac Mohan, Shammi, Birbal, Jankidas, Paro, Aashoo, Shobhna Shah, Madhu Shah, Shanti, Aasha, Nirmal Kumar, Chander Mohan Khanna, Dhawan, and Ramlal. Tom Alter makes a guest appearance in this movie.

Screenplay and dialogues of this movie were written by Kamleshwar and Ramanand Sagar. Suhrid Kar, CL Kavish and Kulwant Jaani were writers for additional screenplay and dialogues. Script and scenario for this movie was written by KK Shukla. Editing of this movie was done by Lachmandass. This movie was passed by Censor Board on 22.11.1979.

This movie had six songs all written by Sahir Ludhianvi and composed to music by Ravindra Jain. Asha Bhonsle, Kishore Kumar and Mahendra Kapoor gave their voices to the songs in this movie.

For the preparation of this post I had requested Atul ji for the records and I can say here that the one going through this details maintained by Atul ji can only realize the efforts put by him and by Sudhir ji too in recording of the statistics on the blog and its retrieval whenever they want to have it for some special occasion (may be some auto ‘alerts’). I salute both of them!!!

Finally remembering all the statisticians in Indian Cricket and paying our tributes to their great works let us enjoy the today’s songs. They may be the first one to know of all the approaching milestones and records like our Atul ji or Sudhir ji (by the way I remember Sudhir Vaidya as a famous statistician in Indian Cricket history) and they all may be first one to know all the raaz’s which the general public may not be aware unless disclosed or made public 🙂 , and may be in other fields of our society we have some secrets/mystery which were never disclosed/solved. . .

And since I have not watched this movie I cannot say and disclose the ‘hidden’ raaz’s of this movie, except this song 😉

However, it seems to be an interesting movie to watch. For now let us enjoy this beautiful song.

Video

Audio

Song – Ab Raaz Chhupaana Mushkil Hai (Hum Tere Aashiq Hain) (1979) Singer – Asha Bhosle, Mahendra Kapoor, Lyrics – Sahir Ludhianvi, MD – Ravindra Jain
Asha Bhosle + Mahendra Kapoor

Lyrics

mushqil hai
mushqil hai
mushqil hai
mushqil hai
mushqil hai ae
ab raaz chhupaana mushqil hai
ab raaz chhupaana mushqil hai
khul jaaye na saari baat kahin
khul jaaye na saari baat kahin
betaab nigaahen le dooben
betaab nigaahen le dooben
tum ko bhi na mere saath kahin
tum ko bhi na mere saath kahin
ab raaz chhupaana
mushqil hai
mushqil hai

haalaat ke dhaare par hum ne
jazbaat ki kashti ee ee ee
daali hai ae ae ae
haalaat ke dhaare par hum ne
jazbaat ki kashti daali hai
munh mod na len
haalaat kahin
munh mod na len
haalaat kahin
dam tod na den jazbaat kahin
khul jaaye na saari baat kahin
ab raaz chhupaana mushqil hai
mushqil hai

jis tarah nibaahi hai ab tak
aage bhi nibhaa do aise hi
jis tarah nibaahi hai ab tak
jis tarah nibaahi hai ab tak
aage bhi nibhaa do aise hi
manzil ke kareeb aate aate
ho o o o
manzil ke kareeb aate aate
chhoote na dilon ka saath kahin
khul jaaye na saari baat kahin
ab raaz chhupaana mushqil hai
mushqil hai

is raah mein kya jaane kitne
aur aise maqaa..aam
aane hai abhi ee ee
is raah mein kya jaane kitne
aur aise maqaam aane hai abhi
jeeti huyi chaahat ki baazi
ho o
jeeti huyi chaahat ki baazi
ho jaaye naa yoonhi maat kahin
ab raaz chhupaana mushqil hai
khul jaaye naa saari baat kahin
betaab nigaahen le dooben
tumko bhi na mere saath kahin
ab raaz chhupaana mushqil hai
mushqil hai

———————————————————-
Hindi script lyrics (Provided by Avinash Scrapvaala)
———————————————————-

मुश्किल है
मुश्किल है
मुश्किल है
मुश्किल है
मुश्किल है ए
अब राज़ छुपाना मुश्किल है
अब राज़ छुपाना मुश्किल है
खुल जाए ना सारी बात कहीं
खुल जाए ना सारी बात कहीं
बेताब निगाहें ले डूबे
बेताब निगाहें ले डूबे
तुमको भी न मेरे साथ कहीं
तुमको भी न मेरे साथ कहीं
अब राज़ छुपाना
मुश्किल है
मुश्किल है

हालात के धारे पर हमने
जज़्बात की कश्ती ई ई ई
डाली है ए ए ए
हालात के धारे पर हमने
जज़्बात की कश्ती डाली है
मुंह मोड़ न लें
हालात कहीं
मुंह मोड़ न लें
हालात कहीं
दम तोड़ न दे जज़्बात कहीं
खुल जाए ना सारी बात कहीं
अब राज़ छुपाना मुश्किल है
मुश्किल है

जिस तरह निबाही है अब तक
आगे भी निभा दो ऐसे ही
जिस तरह निबाही है अब तक
जिस तरह निबाही है अब तक
आगे भी निभा दो ऐसे ही
मंजिल के करीब आते आते
हो ओ ओ ओ
मंजिल के करीब आते आते
छूटे न दिलों का साथ कहीं
खुल जाए ना सारी बात कहीं
अब राज़ छुपाना मुश्किल है
मुश्किल है

इस राह में क्या जाने कितने
और ऐसे मक़ाम आने है अभी ई ई
इस राह में क्या जाने कितने
और ऐसे मक़ाम आने है अभी ई ई
जीती हुई चाहत की बाज़ी
हो ओ
जीती हुई चाहत की बाज़ी
हो जाए ना यूंही मात कहीं
अब राज़ छुपाना मुश्किल है
खुल जाए ना सारी बात कहीं
बेताब निगाहें ले डूबे
तुमको भी न मेरे साथ कहीं
अब राज़ छुपाना मुश्किल है
मुश्किल है



What is this blog all about

This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has more than 15600 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

Important Announcement

(© 2008 - 2020) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

15637

Number of movies covered in the blog

Movies with all their songs covered =1207
Total Number of movies covered =4307

Total visits so far

  • 13,504,647 hits

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Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

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